Group items tagged

We’ve created Pine Tree Poetry to interlace students, their peers, parents, teachers and school librarians in a quest for poetry writing excellence. Rarely do students earn kudos or trophies for their writing, but at Pine Tree Poetry, we are dedicated to rewarding the fine writing achievements of students who are 5 – 18. Pine Tree Poetry contributes four important elements to the realm of student poetry. We: 1. Receive, read, evaluate, pick (a few) and publish the best poems written by poets ages 5 – 18. 2. Support schools by awarding thousands of dollars each year for much-needed library materials. Some awards are based upon the number of poems submitted while others are selected at random from among all particiipants. 3. Give a free copy of The Pine Tree Poetry Collection to the library of every school that has one or more students published. 4. Highlight the life lesson that many will write and the best will be chosen. We are not a vanity publishing company! We’re out to change the world one poem at a time and we invite students, parents, librarians, teachers and those who love the written word to join us.

Sandseter began observing and interviewing children on playgrounds in Norway. In 2011, she published her results in a paper called “Children’s Risky Play From an Evolutionary Perspective: The Anti-Phobic Effects of Thrilling Experiences.” Children, she concluded, have a sensory need to taste danger and excitement; this doesn’t mean that what they do has to actually be dangerous, only that they feel they are taking a great risk. That scares them, but then they overcome the fear. In the paper, Sandseter identifies six kinds of risky play: (1) Exploring heights, or getting the “bird’s perspective,” as she calls it—“high enough to evoke the sensation of fear.” (2) Handling dangerous tools—using sharp scissors or knives, or heavy hammers that at first seem unmanageable but that kids learn to master. (3) Being near dangerous elements—playing near vast bodies of water, or near a fire, so kids are aware that there is danger nearby. (4) Rough-and-tumble play—wrestling, play-fighting—so kids learn to negotiate aggression and cooperation. (5) Speed—cycling or skiing at a pace that feels too fast. (6) Exploring on one’s own.

This last one Sandseter describes as “the most important for the children.” She told me, “When they are left alone and can take full responsibility for their actions, and the consequences of their decisions, it’s a thrilling experience.”

the final irony is that our close attention to safety has not in fact made a tremendous difference in the number of accidents children have.

Absolutely. When we think about writing at the National Writing Project, we think about multimodal composition: words, audio, video, graphic texts, etc. That said, no one is abandoning words. We’re just acknowledging that today your ability to create and publish, say, a video affords opportunities for expression that go beyond just words.

Yes, absolutely. Whether in email, texts, or posting status updates, most people in the world are probably writing and publishing more words, images, video and audio now than ever before. Facebook is one of the biggest publishing platforms in the world. It’s word dependent, but it also includes audio and video—and creating audio and video are deeply compositional. The question is how can we take advantage of the fact that so many people are now creating and circulating content to improve teaching and learning.

Going public and writing for an audience is something we always cared about. Maybe the real shift is that now it’s easier and more expansive.